#there is no actual ambiguity

[navree]

i'm not a book purist, never have been, i've been fine with a lot of changes made from the f&b source material for the show (i'm a rhaenicent girlie, so like duh) but i can't really take the "how can you be mad that the show changed stuff, f&b is a history book so obviously some things just got muddied up" take is that westeros isn't real.

f&b is written as a history book in its format, with different viewpoint represented by different characters, but it's still, functionally, a novel. this is not an actual collection of historical texts where conflict reports are being generated and things have been lost to decay, this is a fictitious work written by author george raymond richard martin and published by bantam books/penguin random house. george created the entire thing out of whole cloth, he is not re-cataloguing existing historical information about any real time period. he wrote a story, and he made choices for that story about what would be most narratively compelling and what works better in a fictional setting. maegor is a monster because it was the most narratively compelling choice. rhaena the queen in the east had the life that she did because it was the most narratively compelling choice. blood and cheese went down as described because it was the most narratively compelling choice. george, as a writer, made a calculation of "what would be the most engaging story to tell here that also gets my thematic statements across for this particular section", and wrote accordingly.

and sometimes, when you deviate from those choices, you are creating a less engaging story and moving away from the themes that also helped make that story more interesting. and it is perfectly acceptable to critique those writing choices within an adaptation and say that changes have weakened the narrative, because this isn't real. none of this happened, none of this ever existed, f&b being formatted as a history book makes for a great analytical exercise as well as for some fun metas (you guys know i love the ambiguity of stuff when it comes to the conquerors) and makes for an interesting reading experience when you are presented with conflict evidence and have to parse out which version you think is more likely. but it's still fake. it's still one creative work, that in this case is being adapted into another creative work, and sometimes it is being adapted badly.

[empressofthewind]

what's funny to me about Death Note is how casually the authors will drop the most insane lore you've ever heard and then just move on as if it never happened. like here's a girl whose parents were killed in front of her and who also would have been murdered by a crazed fan if he hadn't mysteriously dropped dead before her eyes. yes we WILL proceed to call her stupid and annoying for the rest of the series and never address how this affected her. btw did we ever mention that L is an orphan who has been working as a detective since he was 10? and that the orphanage where he grew up is now dedicated to raising child prodigies on the principle that their entire existence is worthless if they can't live up to L's standard? no? well he's dead now so here are his successors. yeah one of them joined the mafia at 17 and commits violent crimes because he believes it's the only way to prove that he's worth anything. yeah the other one had to take on the only case L couldn't solve entirely from scratch at age 13 with no prior detective experience. no the implications of this won't be addressed. also one of the new anti-Kira investigators has a vendetta against Kira because someone close to her was killed by him. will that ever be explored in canon, you ask? well you're not going to believe this-

[qoldenskies]

i think its so funny when people take the way donnie acts at face value even though its a horrible lie because he's a horrible liar, while understanding leo is bullshitting very well despite him actually being GOOD at bullshitting. many such cases

[can-a-tuna-fish]

Give him $25 and he will come home with a bag full of food that hasn’t seen the light of day since the early 90’s.

[pencil-n-pen]

SPILL YOUR GUTS

˚₊‧꒰ა . ——— ˗ˏˋ ✮ ˎˊ˗ ——— ˖ ໒꒱ ‧₊˚

practice boyfriend! eddie x fem! reader

summary: eddie’s your practice boyfriend. you’re positive he’s upset at you and you’re waiting for him to get mad. however, he has a different response in mind.

cw: references/allusions to past child abuse but extremely vague, references/allusions to bad relationships (also pretty vague), reader acts on a learned response and assumes the worst about Eddie, anxiety

tags/tropes: angst, hurt/comfort (my brand!) sappy sappy romantic idiots, they kiss and figure their mess out at the end

a/n: this came to me in a vision

summary makes this sound smutty but i promise it’s not. this accidentally became disgustingly romantic. read at your own risk :)

࣪˖ ࣪ ⊹ ࣪ ˖

You’re positive Eddie’s mad at you.

Okay. Maybe positive is a strong word. But still.

You’ve only been fake/pretend/practice dating Eddie for about two weeks now. He’s the one who approached you with the offer— when you were in the Upside Down together, you’d made an off-hand comment about how you might die without ever having a real boyfriend- not one that mattered, anyway. It’s always kind of been a sore spot for you for a good portion of your life. Growing up, you didn’t really have the best relationship with your dad (Robin likes to call that “The understatement of the year, and we almost died.”) and out of the incredibly small handful of guys you’ve gone out with, none stuck around longer than a month and all ended in such equally, specifically, and uniquely horrific ways, you finally came to the conclusion you had to be fucking something up. What are the chances of all them ended so completely horribly?

After you all had decidedly not died in the Upside Down, Eddie approached you with an offer: pretend date him. You’re popular and well known enough that it’ll help get people off his back about the whole Chrissy/murders thing —even though he’s been absolved of all charges, the people of Hawkins hold grudges— and in exchange, you get a trial run of a relationship that won’t end unless you both agree too— you get to figure out what you’re doing wrong.

You feel bad about it, because even though you spend so much time together, you feel like a nervous wreck. All. The. Time.

You’re constantly waiting for the other shoe to drop— waiting for him to tell you that you’re too weird, that you’re not considerate enough, that you’re selfish, or that you talk too much.

But he never says any of it. All he ever tells you is the good things. He tells you how sympathetic you are, how kind you are, how good you are at remembering little details that matter. He tells you that you’re a good kisser.

(Yeah. Your first kiss, even after those failed relationships, ended up being with Eddie ‘The Freak’ Munson. You’re not quite sure you’ll ever forget how you felt when his lips —just a little cracked, but not rough— met yours; when his hair tickled your face and you could faintly smell the cigarette smoke that stubbornly clings to all of his clothes, no matter how many times he washes them. You didn’t tell him he was your first. That’s something you decided you couldn’t bear to share.

You kind of have a feeling he knows anyway, though.)

It all sets you on edge. You’re under no reassurance that you’re perfect. You’re currently questioning if you’re tolerable, from a romantic standpoint.

You know how you are. You’re clinging and you drink up reassurance like a dying man in the desert. You linger in his casual touches like it’s the first and last time you’ll ever feel them. You know you’re a lot. You know. You know that guys in a relationship don’t want ‘a lot’, they want a pretty thing to hang off their arm and laugh at what they say.

But you just… can’t.

You tried, and you tried, and you tried. But you always ended up being too much, or it didn’t work out for some other reason. You want more. You want to feel safe, and happy, and cherished and loved and all those things that only happen in the movies.

The ironic part of all of this is that when you first started setting out terms for your arrangement, Eddie had told you flat out: “This will only work if you are completely and one-hundred percent yourself. You gotta lay it all on me, angel.”

And so you had, and now you regret it because he’s upset about something.

You’d come over to his trailer at his request to ‘hang out’ while he went over DND stuff for his next campaign. Eddie does this a lot— he calls them ‘Neutral Dates’ where you’re not really doing anything in particular- most of the time, you’re both doing seperate things, but still just being in each other’s presence.

It’s nice. The majority of your friend circle consists of everyone involved with the Upside Down and that entire mess. You two are no Steve and Robin (you’re convinced those two have the kind of bond no one can replicate or break. Like the kind of bond stray cats get and then they have to be adopted together) but it’s still nice. To just be with someone.

Even if you feel like you’re walking on eggshells.

It’s not always eggshells. Sometimes, for a a few moments, you forget. You forget it’s all pretend. You forget he’s just a friend helping a friend fulfill a goal. That’s all.

You’ve almost forgotten just now, too— you’re too concerned about what you might’ve done.

He’s not acting angry, per-se, but he’s definitely upset. You tend to pick up on this kind of thing: small changes in someone’s personality or body language. Most of the time it’s not a conscious habit.

Most of the time.

Right now, he’s run his hands through his hair about a million times. It’s become a frizzy mess behind him, and when you’d made an offhand joke about it —an attempt to lighten the mood— all he’d done was scowl. Not at you, really, but the message was there. You’d snapped your jaw shut so fast you’re pretty sure he heard your teeth click.

After that he’d frustratedly made tea for the both of you, which consisted of opening the cupboards faster than he usually did, closing them slightly louder than he usually does, and drumming his fingers impatiently on the stove-top while he waited for the kettle to boil.

All of this you observed from the corner of your eye while ‘reading’ on the couch.

And if all of that wasn’t bad enough, when you’d finally mustered up the courage to speak again, a little joke about a part in the book you were reading, all he’d said was a flat:

“That’s great, babe.”

You’re starting to get antsy. Nervous. Maybe you should go? Unless he gets upset at you leaving. That would be bad. But he’s clearly upset with you being here, so maybe you should go.

While you’re debating the pros and cons of leaving, you try to remain as still and silent as possible. No need to upset him anymore by moving too much or being too loud.

You flip a page in the book you’re no longer reading (he might notice you’re not paying attention to it anymore) and decide to test the waters again.

“The author just spelled restaurant wrong. That’s the third spelling mistake I’ve caught in this book.”

“Hmm.”

Okay. So that was worse. Talking to him is out of the question, then. It must be something you did, to warrant this kind of reaction.

You wrack your brain, trying to think of anything you could’ve done in recent hours to make him upset, but you can’t think of anything.

You glance slightly to the right— not far enough that he’ll see you looking at him, but far enough to get a better look at him in your peripheral. He’s glaring down at his campaign notebook. Shit, he looks so angry.

Unbidden, tears begin to well in your eyes and you try to shift, trying to angle yourself away from him enough that he can’t see the tears in your eyes.

But your hand shifts, knocking into his leg.

Fuck. “Sorry!”

You yank you arm back as if burned, jolting back on the couch so you’re in no danger of touching him. “I’m sorry!”

He sits up, immediately snapping to attention at the desperation coloring your voice. “Woah woah, hey. Hey, what’s going on? Are you okay?”

You take a steadying breath. “Did I do something wrong?”

He blinks blankly at you. Oh shit, you’re supposed to know that you’ve done something wrong.

“I mean,” You hurry to correct, “I know I— Can you tell me what I did wrong so I can fix it?”

Understanding floods his features and you brace yourself, ready for the reprimand.

“Can I touch you?”

Now it’s your turn to stare with confusion. You nod once, briefly thinking about how weird it is to ask for permission first.

He sits up on the couch, facing you with his legs crossed, the couch springs squeaking loudly at his movement. You resist the urge to wince. He reaches out with a slow hand, taking the hand that’s still clenched, held away from him and up near your chest.

He stares down at your hand, holding it with his left hand and tracing delicate shapes on it with his right. His ringed fingers drag lines around your knuckles and veins, lingering occasionally over the odd, old scar.

“How long did you think I was upset with you?”

Your heart is racing, muscles tensed and ready to bolt. “Um. A few hours? Maybe?”

You’re hyper-aware of the grip he has on your hand, and how quickly and easy it could become crushing.

It doesn’t.

“Bug,” He says slowly after a moment. At first he used to use pet names as a joke— it was something you’d laugh at, between the two of you, since the relationship wasn’t real.

But recently, he’s been saying them with a different inflection in his tone. A little less teasing, a lot more fond.

“Have you spent the past few hours afraid that I was mad at you?”

He sounds… sad. Which is confusing. It doesn’t— he was. He was.

“But you were,” You say, suddenly unsure about anything and everything. “You were upset.”

“I was upset because I couldn’t work this part of the campaign out, and i’m dramatic. I was never mad at you, honey. I was never mad at you.”

You frown, gears turning in your head. “When I made that joke about your hair, you glared at me. And then when I tried to talk to you, you were upset. You didn’t want to talk.”

“I was jokingly glaring at you, I’m so sorry you thought I was serious. I wasn’t, I promise. I didn’t mean to be dismissive, I was really focusing on writing.”

You’re both silent for a moment. A beat too long. You want to squirm in the unwelcome space the silence has created.

“What did you think I was going to do?”

That is a loaded question.

“I don’t know,” You pick at a loose thread on the couch cushion. “I don’t— I don’t know. That’s the problem. You don’t yell at me, or get angry, or tell me when i’ve made you upset. I don’t know what you’ll do.”

He makes a wounded noise in his throat.

“I know you get angry,” You bulldoze on, “I’ve seen it. You’re so… loud, in everything you do. I know you get angry. But you never get that same kind of loud angry at me and I don’t know what to do because that means that I upset you and you don’t tell me about it and then I don’t know how to fix it. I have to fix it, Eddie.”

His eyes, deep and brown, search your face. He reaches up a hand, painfully slow, to cup your face. Your eyelids flutter shut, and you tip your head to the side, leaning into the job.

“I’m gonna tell you something, Bug. Are you listening?” He waits for you to hum in confirmation before continuing. “You’re not responsible for my moods. Or anyone else’s for that matter. That’s not your job. You don’t have to fix it.”

He reaches his second hand up to cup the other side of your face. “You know why I don’t get angry at you? Not all loud and dramatic like that? Because I’ve seen how you react when people do. And I never, ever want to be the reason you get that look in your eye. I never want to make you afraid. I never want you to believe, with proof and confidence, that I’ve grown sick of you.”

You open your eyes, eyes darting across the planes of his face. Searching for even the smallest hint, the smallest giveaway that he might be lying.

You can’t find any. In its place, you find eyes, shining with pure determination. You find lips parted ever so slightly, a sad-sort of smile being etched into being. You find two hands on your face, thumbs delicately sweeping across the skin of your under-eye, of your cheekbone. Smoothing away the steady tears that had begun falling, wiping away the hot trails they leave on your face.

And you realize all at once that love isn’t like the movies. It isn’t picture-perfect kisses. It isn’t ball gowns and dresses and kisses in the rain. It isn’t like the love you thought you were supposed to have: empty and hollow; a life of hanging off of arms and praying your next slip-up didn’t cost you your relationship.

It was this.

It was just being. Just being and knowing the other person is there for just that— for you. It was not raising your voice. It was carrying extra hair-ties. It was making two cups of coffee. It was steeping tea for an extra couple of minutes, just the way he liked it. It was playing your favorite music in the car, and looking over at each other during the bridge, belting the lyrics with the same, toothy-smile. So full and so happy you just keep screaming the lyrics, because you’re filled with so much you don’t know where to put it all.

Your tears begin to fall in earnest now. Your heart is thudding in your chest, but for a different reason now. You’re struck with the need to convey all of this to him— to tell him you understand, you know, you feel the same.

“These hair ties,” You shove your wrist up to his eye-line. “They’re for you. Because you always forget your own. And— and I steep the tea for a few extra minutes, because you like your tea strong, and you didn’t just find that tape in your van, I bought it ‘cause I know you lost the old one in the Upside Down, ‘cause it felt out of your pocket.”

You’re babbling, nearly choking on your tears and your words, rushing them all out of your mouth in an aching wish to be understood, in this very moment.

“I know,” He says, voice a little hysteric and eyes a little too bright. His lip wobbles. He presses your face tighter in his hands. “I know. I know. I see you. I see you.”

You stay like that for a little while. At some point, your hands find his wrists, and then you’re just two fools, smiling like idiots with tears streaming down your faces, staring into each others eyes.

Eventually, Eddie clears his throat. “The next time you think I’m upset at you, you tell me, okay? You can ask. You can ask me and I pinky promise I won’t get mad.”

You giggle wetly. “Pinky swear?”

“Pinky swear,” He says, taking his left hand away from your face to hold up his pinky. You intertwine yours and his together, the both of you laughing at the ridiculousness of it all.

He gets quiet for a moment; removes his hands from your face and instead clasps, your hands together, resting in your lap.

“You know why I never tell you when you’re being a bad practice girlfriend?” He says, his voice low and soft.

“How come?”

He smiles, full and good. “Because you’re not. You’re so sweet and kind and loving. And if you’d let me, I’d really like to kiss you right now.”

You furrow your brows. “The real kind? The I-love-you kind?”

Your face flushes over the words ‘I love you.’

“I’ve always kissed you for real,” He says, words laden with fondness. “Ever since the day we met and you slapped the shit out of me for being stupid. I’ve been hopelessly obsessed ever since. I’ve just been waiting for you to notice.”

You suck in a breath. “So all of this— the, the dates and the hanging out and the kissing— that’s all been real?”

“Every last bit.”

“Then in that case,” You say, squeezing his hands. “I would very much like you to kiss me.”

He leans in, slotting your lips together and everything just clicks. Like this is where you’re meant to be. Maybe it’s puppy love. Maybe it’s not.

All you know is that Eddie Munson is kissing you for real, and he always has been. You couldn’t ask for anything better.

˗ˏˋ ★ ˎˊ˗

[pollyanna-nana]

One of the most tragic and compelling aspects of Dunmeshi, to me, is that we’ll probably never know (unless Kui tells us lol) how Delgal actually felt about Thistle. I’ve seen people say that he genuinely cared for him as a brother and his journey to the surface was to save him from his madness as much as it was his people. I’ve seen people say that he saw Thistle as nothing more than a fancy accessory or tool that ended up going astray. Others I’ve seen (and personally agree with) say that the truth lies somewhere in the middle. But honestly, I think any one of these interpretations has the potential to be correct… and that’s just heartbreaking.

After all, Delgal is dead. Like, dead-dead. The very first chapter of the manga starts with his spirit leaving this mortal coil, taking that answer with him. And…

How he talks about Thistle here… it’s interesting. He does not ask for him to be talked down, or captured or imprisoned, but instead “defeated”. Which Mithrun interprets as asking for his death… which is reasonable, because that’s likely how the vast majority of adventurers interpreted his words, too. Obviously as he was crumbling to dust he probably didn’t have the capacity to be particularly verbose or explain the complex backstory to how the kingdom ended up this way, but the effect is the same no matter how he may have felt with it. He asked for Thistle to be killed.

But… even in situations where he wasn’t under any such time limit to explain what was going on, he still seemed not to. Most glaringly:

Yaad seemingly has no idea that it was Delgal’s fault that Thistle sought the demon’s power. Obviously he couldn’t talk to him about it because Thistle was, uh, a little out there by that point, but why didn’t Delgal explain? Was he embarrassed? Mournful? Couldn’t find the words?

Delgal was scared of dying. He wanted prosperity at any cost, and how could Thistle possibly refuse? Did he even realize that what he was the one who pushed his own brother— One who basically helped raise him despite being a child himself, and in many ways is still a child— down this path? Or was it like watching an overzealous employee misinterpret directions?

The way Yaad describes things here makes it sound like Thistle simply dug too deep in his studies and fell into madness, but we know that’s not true. Delgal didn’t “suggest” he learn magic, he wanted a mage who could help himself and his people defy death, which he admits to Thistle openly:

So, why? Why not tell his grandson, at least, the truth of the matter? Did he worry it might make the remaining residents more likely to upset Thistle, and therefore suffer the consequences? Did he just not care? For what it’s worth though, Yaad does suspect the truth from Delgal’s behavior.

He “always blamed himself” for his descent into the dark arts. This is just Yaad’s observation, and that’s without knowing that it was quite literally Delgal’s fault Thistle went down this path. So, why? Why was it all kept a secret?

Of course, this made things ripe for the winged lion to manipulate to its advantage. Clearly despite knowing he’d pushed him into using it, Delgal still thought the lion was a force of good that was misused by Thistle as a result of his madness. His face in that last panel is particularly haunting. He looks terrible, gaunt and pale with overgrown hair and missing teeth. Had he gone mad, with grief and sorrow, as well?

Could he no longer see Thistle the way he did when they were younger? No one can ask him, because he died long before the story even began.

To go back to the original question, well, how did Delgal see Thistle? None of the previous points make a definitive answer any clearer, and I think that’s just brilliant. And so, so tragic.

[n-hospital]

you. N and volo's massive parallels. you understand yes?

[gen-toon]

[idontmindifuforgetme]

if I could go back in time my top advice to my younger self would literally be don’t get into fucking situationships

[unnonexistence]

95% of math brainteasers that go viral are just bad notation and it drives me up the wall

[cianoart]

40 days and 40 nights

i waited for a girl like you to come and save my life

[pose ref]

[birrdies]

you awake?

some art for a boat boys au im working on… its hard to describe what exactly it is, but its based on the show ‘WAYNE’ if any of you have seen it.

Joel lost count of the days once they passed D.C. He should’ve kept a book or something—hell, he could’ve found a sharpie and scrawled some tallies on his palm— but it was hard track of time when all you really wanted was to outrun it. But as the sun set, slivers of a dreary dusk streaming in the windows, Joel was trapped in it. But this time, he didn’t mind so much.

Etho’s head was a dead weight on his shoulder. The rumble of the car engine kept lulling the both of them to sleep, but Joel fought. Just in case. Just to count the breaths against his collarbone. Those, he could count. Passing days didn’t matter anymore— this did. Here and now, the road ahead of them, did.

[sticcmann]

ive come to make an announcement. jadow the jedgehog is a jitch jass jotherfucker

[starch1ldz]

Venom au

Emily: I sleep with a knife under my pillow.

Morgan: Weak. I sleep with a gun.

Spencer: You’re both pathetic

Morgan: What do you sleep with?

Spencer: Y/n.

[hey-hey-j]

semi-related to the previous post, I guess

[mumblesplash]

he's not even that light impulse is just really strong